Part 8
The current notion that from the first settlement of the Dorians in Sparta they formed a state organized for war only has to be greatly modified. The warlike Sparta familiar to us from Plutarch and other writers came into existence only in the course of the sixth century. The earlier history of Sparta had been parallel to that of other Greek cities; and we are able now to mark out successive periods of development in the local artistic remains. In these remains Dickins discerns four periods. First, there is the age of geometric art, the ninth and early eighth centuries, when art products show the dominance of the early Dorian civilization which the Spartans brought with them from the north. Next comes a period in which we find oriental art invading, owing to trade with Egypt and Ionia. In the third period we find a fusion of native Greek art with the oriental style of importation. The fourth period, the sixth and fifth centuries, should show us at Sparta, as in other Greek cities, a bloom of local art; but it never had a fair chance of development, as the rise of the military spirit and asceticism in manners blighted it in the midst of its spring. Thenceforward Sparta is cut off from the stream which leads to such wonderful results in the architecture and sculpture of Argos and Athens. It is a lesson for all times. Many of the early Spartan works of art are represented in the article. Their character is striking: Dickins compares them with the works found by Dr. Hogarth in the earliest strata of Ephesus; and the Ionian influence in them confirms the tales told by the historians of the frequent relations between Sparta and Asia Minor.
The sculptural group of Damophon of Messene at Lycosura in Arcadia has long been an object of interest to archaeologists. We knew that it consisted of four colossal figures, Demeter, Despoina, Artemis, and the Titan Anytus. But there was no agreement as to the date of the group: Damophon had been assigned by various writers to periods as far apart as the fourth century before, and the second century after, our era. When the site at Lycosura was excavated in 1889–90 by the Greek archaeologists Leonardos and Kavvadias, fragments of the statues were found, and the style proved somewhat disappointing. The closer study of these fragments was resumed in 1906 by Dr. Kourouniotis, who partially restored two of the figures. But it was reserved for Dickins, in a series of closely reasoned and masterly papers,[128] to complete the restoration of the group, and to fix definitely the date and style of Damophon.
The first paper deals with the date of Damophon, which is fixed on the definite evidence of inscriptions to the first half of the second century B.C., and deals so thoroughly with his historic connexion that little is left for any future archaeologist to say in regard to it. The architectural evidence at Lycosura confirms the date assigned. In the second paper Dickins carries out a most detailed and convincing restoration of the group, adding a discussion of the style of Damophon. In the third paper he is able to confirm the accuracy of his restoration by comparing with it a copy of the group on a bronze coin of Julia Domna struck at Megalopolis. When the restoration was published nothing was known of this coin; it may therefore be regarded as independent evidence of the most satisfying character; and its agreement in all but a few details with Dickins’s restoration shows that his work survives that most severe of all tests, the discovery of fresh evidence. Few conjectural restorations of archaeologists stand on so firm a basis.
Damophon had interested Dickins even before he became his special subject of study, for as early as 1905 he had published two bearded heads, one in the Vatican, one in the Ny Carlsberg Glyptothek, which resemble the head of Anytus.[129]
In 1906 he published a new replica of the Choiseul Gouffier type.[130] His keen eye had discerned in the Terme Museum at Rome a detached leg of the same form and style as the left leg of the Choiseul Gouffier figure of the British Museum. To the support to which this leg is attached there is also attached a quiver, and this led Dickins to conclude that the Choiseul Gouffier figure is not, as many have thought, an athlete, but an Apollo, as Mr. Murray always maintained.
In 1911 he published an account[131] of a colossal marble sandal in the Palazzo dei Conservatori at Rome, adorned with reliefs on the side of the sole. Struck with the likeness of the style of these reliefs to that of the figures on the garment at Lycosura, he boldly suggests that it is an original work of Damophon.
In 1914 he discussed the question[132] whether the noteworthy female head at Holkham Hall can be given, as Sir Charles Walston has suggested, to the east pediment of the Parthenon; and answered the question with a decided negative. Another paper in the same year suggests the identification of several sculptured heads in various museums as portraits of kings of the Hellenistic Age, Egyptian, Syrian, and Pergamene. The paper also discusses the portraits of Thucydides and Aristotle. There is no more treacherous ground in archaeology than the assignment of portraits which are uninscribed; but the keenness of sight and the cautious method of Dickins had made him eminently fit for such inquiries.
In 1912 appeared a work on which Dickins had expended great labour, the first volume of the _Catalogue of the Acropolis Museum at Athens_,[133] comprising the sculpture down to the time of the Persian wars. The archaic Korae and male figures which stood in lines on the Acropolis and the pediments of the temples and shrines which adorned it when the Persians broke in in 480 constitute one of the most wonderful revelations of early Greek art. They have been frequently photographed; but their scientific study had not advanced with their popularity, and a number of difficult questions, as to date, artistic school, and manner of drapery awaited the cataloguer. With great care and excellent method Dickins approached these questions; and laid down a platform of knowledge on which all future discussions must be based. The work is in several ways a model.
A posthumous paper on ‘The Followers of Praxiteles’, published in the _Annual of the British School_,[134] had been given as a lecture at Oxford. It covers some of the ground occupied by the present volume. This with some manuscript to be printed in the forthcoming account of excavations at Sparta and in the forthcoming second volume of the _Catalogue of the Municipal Collections of Sculpture at Rome_, completes the list of published works. My claim is that they should rather be weighed than measured.
P. GARDNER.
FOOTNOTES
[1] _N. H._ xxxiv. 52.
[2] Pliny, _N. H._ xxxvi. 24.
[3] Collignon, _Pergame_, figure on p. 204; Brunn-Bruckmann, _Denkmäler_, Pl. 159.
[4] _N. H._ xxxvi. 35.
[5] Collignon, _Sculpture grecque_, ii, Fig. 302.
[6] Collignon, _Sculpture grecque_, ii, Fig. 282.
[7] Amelung, _Antiken in Florenz_, Pl. 14.
[8] _Ibid._, p. 62.
[9] _Ibid._, Pl. 17.
[10] _Annali dell’ Instituto_, 1851, Pl. E.
[11] Collignon, _Sculpture grecque_, ii. 546.
[12] Seneca, _Controv._ x. 5.
[13] Collignon, _Pergame_, figure on p. 206.
[14] Amelung, _Antiken in Florenz_, p. 43.
[15] Klein, _Praxiteles_, Fig. 35.
[16] Furtwängler, _Der Satyr aus Pergamon, 40^{es} Programm zum Winckelmannsfeste, 1880_.
[17] Collignon, _Sculpture grecque_, ii, Fig. 318.
[18] Bulle, _Der schöne Mensch_, Pl. 162.
[19] Fig. 42.
[20] Klein, _Geschichte_, iii. 57 ff.; Bienkowski, _Darstellungen der Gallier_.
[21] E. Gardner, _Handbook of Greek Sculpture_, Fig. 129.
[22] _Ibid._, Fig. 130.
[23] Pliny, _N. H._ xxxiv. 84.
[24] _Catalogue du Musée du Caire_, no. 27475.
[25] Fraenkel, _Inschriften von Pergamon_, pp. 70–84.
[26] _Revelation_ ii. 13.
[27] Klein, _Geschichte_, iii. 122 ff.
[28] _Die hell. Reliefbilder._
[29] _Roman Art._
[30] _Vid. inf._, p. 29.
[31] Collignon, _Pergame_, figure on p. 222.
[32] Fig. 8.
[33] Wiegand und Schrader, _Priene_, p. 366.
[34] Cf. Wace, _Annual of the British School at Athens_, ix. 225, for summary of views; _Röm. Mittheil._ xix, Pfuhl, _Zur alexand. Kunst_, pp. 1 ff.
[35] Fig. 6.
[36] Fig. 25.
[37] Amelung, _Bull. Arch. Comm._ xxv. 110.
[38] _Ausonia_, iii. 117 (Amelung).
[39] Wallis, _Catalogue of Nemi Antiquities_, no. 832.
[40] Dieterich, _Kleine Schriften_, 1911, p. 440; Stuart Jones, _Catalogue of the Museo Capitolino_, p. 345.
[41] Bulle, _Der schöne Mensch_, Pl. 187.
[42] Stuart Jones, _Catalogue of the Museo Capitolino_, p. 344.
[43] E. Gardner, _op. cit._, Fig. 144.
[44] Lucian, _Philops._ 18.
[45] Schrader, _Marmorkopf eines Negers_, plates, _Winckelmannsfeste, 1900_.
[46] Brunn-Bruckmann, _Denkmäler_, Pl. 393.
[47] Hekler, _Greek and Roman Portraits_, p. 113.
[48] Reinach, _Répertoire_, i. 165.
[49] Schreiber, _Hell. Reliefbilder_; Wickhoff, _Roman Art_.
[50] Schreiber, _op. cit._, Pl. III.
[51] _Ibid._, Pl. XII.
[52] _Ibid._, Pl. 84.
[53] Collignon, _Sculpture grecque_, ii, Fig. 354.
[54] Stark, _Niobe_, p. 165.
[55] E. Gardner, _op. cit._, Fig. 126.
[56] Schreiber, _op. cit._, Pl. III.
[57] _Ibid._, Pl. XI.
[58] Brunn-Bruckmann, _Denkmäler_, Pl. 627 b.
[59] E. Gardner, _op. cit._, Fig. 128; see below, p. 38.
[60] Cedren, _Hist. Comp._ 306 B.
[61] _Ausstellung von Fundstücken aus Ephesos_, figures on pp. 14 and 15.
[62] _Ibid._, figure on p. 5.
[63] E. Gardner, _op. cit._, Fig. 136.
[64] _N. H._ xxxiv. 66.
[65] _N. H._ xxxiv. 87.
[66] _Ibid._ xxxiv. 73.
[67] E. Gardner, _op. cit._, Fig. 128.
[68] _Annual of the British School at Athens_, vol. xxi, Pl. I.
[69] _Ibid._, Dickins, _Followers of Praxiteles_, p. 1.
[70] E. Gardner, _op. cit._, Fig. 134.
[71] _Ibid._, Fig. 135.
[72] E. Gardner, _op. cit._, Fig. 136.
[73] Reinach, _Répertoire_, ii. 555.
[74] Brunn-Bruckmann, _Denkmäler_, Pl. 249.
[75] E. Gardner, _op. cit._, Fig. 146.
[76] Schreiber, _Das Bildniss Alexanders_, pp. 100 ff.
[77] _Archäol. Anzeiger_, 1904, p. 212.
[78] E. Gardner, _op. cit._, Fig. 127.
[79] Helbig, _Führer_, no. 550.
[80] Watzinger, _Relief des Archelaos, 60^{tes} Prog. zum Winckelmannsfeste_.
[81] Mendel, _Catalogue des Musées Ottomans_, pp. 320–8.
[82] _Annual of British School at Athens_, vol. xxi, Pl. 1.
[83] Fig. 31.
[84] E. Gardner, _op. cit._, Fig. 122.
[85] E. Gardner, _op. cit._, Fig. 135.
[86] E. Gardner, _op. cit._, Fig. 134.
[87] E. Gardner, _op. cit._, Fig. 145.
[88] Furtwängler, _Masterpieces_, Pl. XV.
[89] Fig. 26.
[90] E. Gardner, _op. cit._, Fig. 115.
[91] _N. H._ xxxiv. 80.
[92] Klein, _Geschichte_, iii. 165.
[93] _Antike Sculpturen zu Berlin_, no. 193.
[94] Arndt-Brunn-Bruckmann, _Texte_, no. 578, Figs. 4 and 5.
[95] Cf. my papers on Damophon in the _Annual of the British School at Athens_, vols. xii, xiii, xvii.
[96] _Annual of the British School at Athens_, xvii. 81.
[97] E. Gardner, _op. cit._, Fig. 142.
[98] Furtwängler, _Masterpieces_, pp. 367 ff.
[99] _Vide_ p. 5, note 1.
[100] Fig. 1.
[101] Brunn-Bruckmann, _Denkmäler_, Pl. 299.
[102] E. Gardner, _op. cit._, Fig. 148.
[103] _Ibid._, Fig. 140.
[104] _Ibid._, Fig. 141.
[105] E. Gardner, _op. cit._, Fig. 147.
[106] Sauer, _Torso von Belvedere_.
[107] Pliny, _N. H._ xxxvi. 30.
[108] Furtwängler, _Ueber Statuenkopieen im Altertum_, p. 545, Munich, 1896 (_Abhandl. der K. Akademie_).
[109] Pliny, _N.H._ xxxvi. 33.
[110] Klein, _Geschichte der griech. Kunst_, iii. 340.
[111] E. Gardner, _op. cit._, Fig. 49.
[112] Dickins, _Catalogue of the Acropolis Museum_, no. 698.
[113] E. Gardner, _op. cit._, Fig. 151.
[114] Brunn-Bruckmann, _Denkmäler_, Pl. 308.
[115] Kekulé, _Die Gruppe des Künstlers Menelaos_; Brunn-Bruckmann, _Denkmäler_, Pl. 309.
[116] Stuart Jones, _Catalogue of the Museo Capitolino_, p. 297.
[117] E. Gardner, _op. cit._, Fig. 150.
[118] Helbig, _Führer_, nos. 1290–6.
[119] Hauser, _Die Neu-Attischen Reliefs_.
[120] Brunn-Bruckmann, _Denkmäler_, Pl. 60.
[121] Collignon, _Sculpture grecque_, ii, Fig. 345; _Röm. Mittheil._, 1888, Pl. 10.
[122] Collignon, _Sculpture grecque_, ii, Fig. 340.
[123] Helbig, _Führer_, nos. 975 and 970.
[124] Studniczka, _Ara Pacis_; Petersen, _Ara Pacis Augustae_.
[125] E. Strong, _Roman Sculpture_, Pl. XXXIV.
[126] _Monumenti, Supplemento_, Pl. XXXIII-XXXVI.
[127] _Burlington Magazine_, November 1908.
[128] _Annual of the British School_, vols. xii, xiii, xvii.
[129] _Annual of the British School_, xi.
[130] _J.H.S._ xxvi.
[131] _J.H.S._ xxxi.
[132] _J.H.S._ xxxiv.
[133] Published by the Cambridge University Press.
[134] No. xxi, 1914–16.
INDEX
Actaeon torso, 41.
_Adorans_ of Boedas, 37.
Agasias, 34, 40.
Ageladas, 74.
Agias of Delphi, 56.
Ajax (Menelaos) and Patroclos, 48, 50.
Alexander, British Museum head of, 21; Sieglin head of, 21; with lance, 42.
Alexandria, school of, 19 sqq.; characteristics of, 21 sqq.; connexion with Antioch, 33; grotesques of, 27; pastoral reliefs of, 30; realism of, 25, 27 sqq.
Andros, Hermes of, 54 sq.
Anticythera, bronze figure from, 55 sq.
Antioch, art of, 32 sq.; coins of, 33; Eutychides working at, 3; statue of, 33, 46, 47.
Anytos, 60 sqq.
Apelles, 15, 30.
Aphrodite, armed, 66; with Ares, 74; Capitoline, 25; Capuan, 65 sq.; Cnidian, 25; from Cyrenaica, 22; of Daedalus, 5; Kallipygos, 8, 57; of Melos, 63 sqq.; with Triton at Dresden, 20, 21, 33.
Apollo, Belvedere, 70; at Daphne, 33; torso in Berlin, 6; of Tralles, 17.
Apollonios of Tralles, 48 sq.
Apotheosis of Homer, 16, 30, 44.
Appiades of Stephanos, 73.
Ara Pacis, 14, 79, 80, 82.
Arcesilaos, 69, 75.
Archelaos of Priene, 16, 44.
Ares Borghese, 74.
Ariadne, Capitol, 26.
Aristeas of Aphrodisias, 51.
Aristonides of Rhodes, 49.
Artemis, of Damophon, 60 sqq.; Leucophryene, temple of, 17; of Pompeii, 78; of Versailles, 70 sq.
Asklepios of Damophon, 61 sq.
Athena of Euboulides, 59.
Athens, art of, 54 sqq., 75 sqq.
Athlete from Ephesos, 34, 56.
Attalid dedications, 4, 6, 9 sqq., 34.
Augustus, monuments of, 79, 80.
Bearded head, in Capitol, 23; from Nemi, 24.
Bellerophon and Pegasus, 30.
Belvedere, Apollo, 70; torso, 71.
Boedas, 36 sq.
Boethos of Chalcedon, 18, 43.
Borghese warrior, 40 sqq.
Boston, Chian girl’s head in, 23, 26.
Boxer, statue of, 42 sq.
Boy with goose, 43.
Brescia, Victory of, 66.
Bronze casting, 36.
Bryaxis, 20, 23 sq., 33.
‘Cabinet’ pieces, popularity of, 51.
Capitoline, Ariadne, 26; bearded head, 23; old woman, 28; priest of Isis, 24; Venus, 25.
Capuan Venus, 65 sq.
Centaurs, pair of, in Capitol, 51.
Chairestratos, Themis of, 54.
Chares of Lindos, 3, 35, 39.
Chios, girl’s head from, 23, 26.
Colossus, of the Conservatori, 33; of Rhodes, 36, 39.
Copies, Greco-Roman, 69.
Crouching attitude, introduction of, 5 sq.
Cyrenaica, Aphrodite from, 22.
Daedalos and Icaros, relief of, 31.
Daedalus of Bithynia, Aphrodite of, 5.
Daippos, 36 sq.
Damophon of Messene, 1, 60 sqq.
Dancing, influence of, on sculpture, 8.
Decadence in art, 1; of Alexandrian school, 20, 29.
Demetrios Poliorcetes, 35, 46.
Demetrios, portrait by, 27.
Designs, naturalistic, 82; Neo-Attic, 78.
Despoina, veil of, 62.
Diadochi, kingdoms of, 2, 3.
Diadumenos of Polykleitos, 69.
Diogenes of Villa Albani, 28.
Dionysios, 57 sq.
Drapery, academic, 54; Alexandrian, 25; of Alkamenes, 74; of Aphrodite of Melos, 65; of Neo-Attic school, 79; Rhodian, 38, 44 sqq.
Eclecticism, 55, 56, 61, 63, 66, 75.
Ephesos, art of, 34.
Epinal Hermaphrodite, 57 sq.
Eros, transformation of, into Cupid, 32; with Psyche, 44.
Erotes, frieze of, 34, 43.
Eubouleus head, 26.
Euboulides, 58 sq.
Eucheir, 58 sq.
Euthykrates, 36.
Eutychides of Sikyon, 3, 33, 38, 46 sq.
Farnese Bull, 39, 48 sq.
Farnesina, Villa, decorations of, 81.
Fisherman, of Louvre, 28; of Conservatori, 28.
Gaul, Dying, 9 sq., 37; head of, at Cairo, 11, 20; Ludovisi, 10 sq.
Genetrix, Venus, 75.
_Genre_ statues, 32, 43.
Glycon, Herakles of, 70.
Grimani reliefs, 30.
Grotesques, Alexandrian, 27 sqq.
Grouping, of statues, 74; on Neo-Attic reliefs, 77.
Halicarnassos, altar from, 44 sq.
Hellenism, meaning of, 83 sqq.
Herakles, on Antioch coins, 33; of Damophon, 61; Farnese, 70; on Telephos frieze, 16.
Herculaneum figure in Dresden, 38, 55.
Hermaphrodite, in Berlin, 57; bronze, mentioned by Pliny, 57; in Constantinople, 5, 65; Epinal, 57; sleeping, 8, 57 sq.
Hermerotes, 49.
Hermes, of Andros, 54 sq.; from Atalanta, 56; at Pheneos, 59; Resting, 37 sq.; Richelieu, 56.
Herms, 49, 52, 75.
Hero resting on lance, 42 sq.
Idealism, in Hellenistic art, 2; lack of in Alexandrian school, 20.
Ildefonso group, 74.
Inopos in Louvre, 26.
Isis, head of, in Louvre, 24; priest of, in Capitol, 24.
Jason in Louvre, 40 sqq.
Kephisodotos, _symplegma_ of, 4.
Knife-grinder of the Uffizi, 6 sq.
_Korai_ in Greco-Roman art, 79.
Kritios, ephebe of, 74.
Laocoon, 1, 39, 41, 48, 50, 51.
Leochares, 70.
Ligourio bronze, 74.
Litter, bronze, in Conservatori, 43.
Lycosura, group at, 60 sqq.
Lysippos, pupils of, 3, 36 sqq.; all-round figures of, 41; female type of, 39; influence of: on Antiochene art, 33; on Farnese Bull, 49; on Hermes of Andros, 55; on Rhodian school, 36 sqq.; on Victory of Samothrace, 47.
Macedonia, attitude of, towards art, 3; as enemy of Athens, 2.
Maenad, dancing, in Berlin, 8; in Conservatori, 78; Scopaic, in Neo-Attic art, 76.
Magnesia, Amazonomachy from, 17; draped figure from, 45, 47.
Mahdia ship, statuettes from, 28.
Mainland schools of Greece, 53 sqq.
Mantinean basis, 38, 45.
Marsyas, ‘red’ and ‘white’, 6; Pergamene group of, with Apollo and Scythian slave, 6 sq.
Medici Venus, 71.
Meleager type, Scopaic, 56.
Melos, art of, 63 sqq.
Menander relief, 16, 30, 32.
Menelaos (Ajax) and Patroclos, 48, 50.
Menelaos, pupil of Stephanos, group by, 74.
Models, use of living, 7; clay, 72.
_Morbidezza_ in Alexandrian work, 21.
Muscles, exaggeration of, 7; of Farnese Herakles, 70; of Laocoon, 50; in Neo-Attic works, 78; Rhodian naturalism in rendering of, 37.
Muses, of Philiskos, 44 sq.; of the Vatican, 46.
Naturalism, in Alexandrian art, 25, 27 sqq.; in floral designs, 82; in Rhodian art, 37 sq., 47.
Negro’s head in Berlin, 28.
Nemi, bearded head from, 24.
Neo-Attic sculpture, 69, 75 sqq.
Nile, statue of, 32.
Niobid, Chiaramonti, 47.
Niobids, slaying of, 30.
Nottingham Castle, head in, 24.
Odysseus, Chiaramonti, 48 sq.
Ofellius, C., of Delos, 58.
Old woman, of Capitol, 28; of Conservatori, 28; of Dresden, 29.
Orestes and Electra, 74.
Orontes, figure of, 33.
Otricoli, Zeus of, 23.
Painting, influence of, on sculpture, 15, 22, 30, 81.
Papias of Aphrodisias, 51.
Parrhasios, 7, 15.
Pasiteles, 69, 72 sqq.
Pastoral reliefs, 30 sqq.
Pellichos, portrait of, 27.
Peloponnese, art of, 59 sqq.
Pergamon, early school of, 4 sqq.; later school of, 12 sqq.; altar friezes from, 12 sqq.; characteristics of art of, 5, 8, 17; erotic groups of, 4; girl’s head from, 5, 65; Hellenistic reliefs ascribed to, 31; mixed tradition in art of, 7, 17; satyr types of, 7; influence of: on other schools, 18; on Damophon, 60; on Euboulides, 59; on Melian Aphrodite, 65; on Melian Poseidon, 63.
Persian, head of dead, in Terme Museum, 11.
Philiskos, 44 sq.
Pliny, on Aristonides, 49; on Attalid dedications, 10; on Boethos, 43; on Daedalus, 5; on Euthykrates, 36; on the Hermaphrodite, 57; on Pasiteles, 72; on Stephanos, 73.
Polyeuctes, the Demosthenes of, 54.
Polykles, 57.
Portraiture, realism in, 27; at Athens, 54.
Poseidon of Melos, 63.
Praxiteles, Cnidian Aphrodite of, 25; drapery of, 38, 46; Eubouleus ascribed to, 26; impressionism of, 22; influence of, in Hellenistic art, 9, 17, 23, 34, 55.
Praying Boy of Berlin, 37.
Priene, sculpture from, 17; Archelaos of, 16, 44.
Priest of Isis in Capitol, 24.
Protogenes, 15, 35.
Pyrgoteles, 21.
Realism in Alexandrian art, 27 sqq.
Reliefs, from Asklepieion, 56; Attic grave, 56; classification of Hellenistic, 16, 29 sqq.; early distinguished from late, 32; Greco-Roman, 80, 81; influence of painting on, 15, 30, 81; Neo-Attic, 75 sqq.; perspective in, 80 sq.; pictorial background in, 14, 81.
Rhodes, school of, athletic sculpture of, 20, 39 sqq.; characteristics of, 35 sqq.; connexion with Victory of Samothrace, 47; drapery of, 38, 44 sqq.; exaggeration of, 43, 50; influence of, on Pergamon frieze, 13; mythological reliefs of, 31; perfection of technique of, 52.
Samothrace, Victory of, 46 sqq.
Sarapis of Bryaxis, 20, 23 sq.
Satyr types, Pergamene, 7, 17, 27.
Scopaic school, 5, 7, 17, 34, 55, 56, 65.
Scylla group, 48, 50.
Silanion, Jocasta of, 49.
Sosibios, vase of, 77.
Spada, Palazzo, reliefs in, 30, 31, 73.
Stephanos, Appiades of, 73; athlete of, 73 sq.
Straton, 62.
Stucco, hair added in, 22 sq.
Stylopinakia, 16.
Subiaco youth, 42.
Syracuse, torso at, 26.
Tauriskos of Tralles, 48 sq.
Telephos frieze, 14 sq.
Thasos, figure from, 45.
Themis of Chairestratos, 54.
Timarchides, 57.
Tisicrates, 37.
Titus, arch of, 80 sq.
Tralles, Apollo of, 17; Apollonios and Tauriskos of, 48; as art centre, 17 sq.; ephebe of, 17.
Venus, Capuan, 65 sq.; from Cyrenaica, 22; Genetrix, 75; Medici, 71.
Victory, of the Balustrade, 76 sq.; of Brescia, 66; of Euboulides, 59; of Samothrace, 46 sqq.
Visit of Dionysos, relief of, 16, 30.
Xenophilos, 62.
Zeus of Otricoli, 23.
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Transcriber’s Notes
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